The New Poetry Movement
by H.L. Mencken
from Prejudices: First Series [1919, Alfred A. Knopf]
The current pother about poetry, now gradually subsiding, seems to have begun about seven years ago – say in 1912. It was during that year that Harriet Monroe established Poetry: A Magazine of Verse, in Chicago, and ever since then she has been the mother superior of the movement. Other leaders have occasionally disputed her command – the bombastic Braithwaite, with his annual anthology of magazine verse; Amy Lowell, with her solemn pronunciamentos in the manner of a Harvard professor; Vachel Lindsay, with his nebulous vaporings and Chautauqua posturings; even such cheap jacks as Alfred Kreymborg, out of Greenwich Village. But the importance of Miss Monroe grows more manifest as year chases year. She was, to begin with, clearly the pioneer. Poetry was on the stands nearly two years before the first Braithwaite anthology, and long before Miss Lowell had been lured from her earlier finishing-school doggerels by the Franco-British Imagists. It antedated, too, all the other salient documents of the movement – Master’s “Spoon River Anthology,” Frost’s “North of Boston,” Lindsay’s “General William Booth Enters Heaven,” the historic bulls of the Imagists, the frantic balderdash of the “Others” group. Moreover, Miss Monroe has always managed to keep on good terms with all wings of the heaven-kissed host, and has thus managed to exert a ponderable influence both to starboard and to port. This, I daresay, is because she is a very intelligent woman, which fact is alone sufficient to give her an austere eminence in a movement so beset by mountebanks and their dupes. I have read Poetry since the first number, and find it constantly entertaining. It has printed a great deal of extravagant stuff, and not a little downright nonsensical stuff, but in the main it has steered a safe and intelligible course, with no salient blunders. No other poetry magazine – and there have been dozens of them – has even remotely approached it in interest, or, for that matter, in genuine hospitality to ideas. Practically all of the others have been operated by passionate enthusiasts, often extremely ignorant and always narrow and humorless. But Miss Monroe has managed to retain a certain judicial calm in the midst of all the whooping and clapper-clawing, and so she has avoided running amuck, and her magazine has printed the very best of the new poetry and avoided much of the worst.
As I say, the movement shows signs of having spent its strength. The mere bulk of the verse that it produces is a great deal less than it was three or four years ago, or even one or two years ago, and there is a noticeable tendency toward the conservatism once so loftily disdained. I daresay the Knish-Morgan burlesque of Witter Bynner and Arthur Davison Ficke was a hard blow to the more fantastic radicals. At all events, they subsided after it was perpetrated, and for a couple of years nothing has been heard from them. These radicals, chiefly collected in what was called the “Others” group, rattled the slapstick in a sort of side-show to the main exhibition. They attracted, of course, all the more credulous and uninformed partisans of the movement, and not a few advanced professors out of one-building universities began to lecture upon them before bucolic women’s clubs. They committed hari-kari in the end by beginning to believe in their own buncombe. When their leaders took to the chautauquas and sought to convince the peasantry that James Whitcomb Riley was a fraud the time was ripe for the lethal buffoonery of MM. Bynner and Ficke. That buffoonery was enormously successful – perhaps the best hoax in American literary history. It was swallowed, indeed, by so many magnificoes that it made criticism very timorous thereafter, and so did damage to not a few quite honest bards. To-day a new poet, if he departs ever so little from the path already beaten, is kept in a sort of literary delousing pen until it is established that he is genuinely sincere, and not merely another Bynner in hempen whiskers and a cloak to go invisible.
Well, what is the net produce of the whole uproar? How much actual poetry have all these truculent rebels against Stedman’s Anthology and McGuffey’s Sixth Reader manufactured? I suppose I have read nearly all of it – a great deal of it, as a magazine editor, in manuscript – and yet, as I look back, my memory is lighted up by very few flashes of any lasting brilliance. The best of all the lutists of the new school, I am inclined to think, are Carl Sandburg and James Oppenheim, and particularly Sandburg. He shows a great deal of raucous crudity, he is often a bit uncertain and wobbly, and sometimes he is downright banal – but, taking one bard with another, he is probably the soundest and most intriguing of the lot. Compare, for example, his war poems – simple, eloquent and extraordinarily moving – to the humorless balderdash of Amy Lowell, or, to go outside the movement, to the childish gush of Joyce Kilmer, Hermann Hagedorn and Charles Hanson Towne. Often he gets memorable effects by astonishingly austere means, as in his famous “Chicago” rhapsody and his “Cool Tombs.” And always he is thoroughly individual, a true original, his own man. Oppenheim, equally eloquent, is more conventional. He stands, as to one leg, on the shoulders of Walt Whitman, and, as to the other, on a stack of Old Testaments. The stuff he writes, despite his belief to the contrary, is not American at all; it is absolutely Jewish, Levantine, almost Asiatic. But here is something criticism too often forgets: the Jew, intrinsically, is the greatest of poets. Beside his gorgeous rhapsodies the highest flights of any western bard seem feeble and cerebral. Oppenheim, inhabiting a brick house in New York, manages to get that sonorous Eastern note into his dithyrambs. They are often inchoate and feverish, but at their best they have the gigantic gusto of Solomon’s Song.
Miss Lowell is the schoolmarm of the movement, and vastly more the pedagogue than the artist. She has written perhaps half a dozen excellent pieces in imitation of Richard Aldington and John Gould Fletcher, and a great deal of highfalutin bathos. Her “A Dome of Many-Colored Glass” is full of infantile poppycock, and though it is true that it was first printed in 1912, before she joined the Imagists, it is not to be forgotten that it was reprinted with her consent in 1915, after she had definitely set up shop as a foe of the cliché. Her celebrity, I fancy, is largely extra-poetical; if she were Miss Tilly Jones, of Fort Smith, Ark., there would be a great deal less rowing about her, and her successive masterpieces would be received less gravely. A literary craftsman in America, as I have already said once or twice, is never judged by his work alone. Miss Lowell has been helped very much by her excellent social position. The majority, and perhaps fully nine-tenths of the revolutionary poets are of no social position at all – newspaper reporters, Jews, foreigners of vague nationality, school teachers, lawyers, advertisement writers, itinerant lecturers, Greenwich Village posturers, and so on. I have a suspicion that it has subtly flattered such denizens of the demi-monde to find the sister of a president of Harvard in their midst, and that their delight has materially corrupted their faculties. Miss Lowell’s book of exposition, “Tendencies in Modern American Poetry,” is commonplace to the last degree. Louis Untermeyer’s “The New Era in American Poetry” is very much better. And so is Prof. Dr. John Livingston Lowes’ “Convention and Revolt in Poetry.”
As for Edgar Lee Masters, for a short season the undisputed Homer of the movement, I believe that he is already extinct. What made the fame of “The Spoon River Anthology” was not chiefly any great show of novelty in it, nor any extraordinary poignancy, nor any grim truthfulness unparalleled, but simply the public notion that it was improper. It fell upon the country at the height of the last sex wave – a wave eternally ebbing and flowing, now high, now low. It was read, not as work of art, but as document; its large circulation was undoubtedly mainly among persons to whom poetry qua poetry was as sour a dose as symphonic music. To such persons, of course, it seemed something new under the sun. They were unacquainted with the verse of George Crabbe; they were quite innocent of E. A. Robinson and Robert Frost; they knew nothing of the Ubi sunt formula; they had never heard of the Greek Anthology. The roar of his popular success won Masters’ case with the critics. His undoubted merits in detail – his half-wistful cynicism, his capacity for evoking simple emotions, his deft skill at managing the puny difficulties of vers libre – were thereupon pumped up to such an extent that his defects were lost sight of. Those defects, however, shine blindingly in his later books. Without the advantage of content that went with the anthology, they reveal themselves as volumes of empty doggerel, with now and then a brief moment of illumination. It would be difficult, indeed, to find poetry that is, in essence, less poetical. Most of the pieces are actually tracts, and many of them are very bad tracts.
Lindsay? Alas, he has done his own burlesque. What was new in him, at the start, was an echo of the barbaric rhythms of the Jubilee Songs. But very soon the thing ceased to be a marvel, and of late his elephantine college yells have ceased to be amusing. His retirement to the chautauquas is self-criticism of uncommon penetration. Frost? A standard New England poet, with a few changes in phraseology, and the substitution of sour resignationism for sweet resignationism. Whittier without the whiskers. Robinson? Ditto, but with a politer bow. He has written sound poetry, but not much of it. The late Major-General Roosevelt ruined him by praising him, as he ruined Henry Bordeaux, Pastor Wagner, Francis Warrington Dawson and many another. Giovannitti? A forth-rate Sandburg. Ezra Pound? The American in headlong flight from America – to England, to Italy, to the Middle Ages, to ancient Greece, to Cathay and points East. Pound, it seems to me, is the most picturesque man in the whole movement – a professor turned fantee, Abelard in grand opera. His knowledge is abysmal; he has it readily on tap; moreover, he has a fine ear, and has written many an excellent verse. But now all the glow and gusto of the bard have been transformed into the rage of the pamphleteer: he drops the lute for the bayonet. One sympathizes with him in his choler. The stupidity he combats is actually almost unbearable. Every normal man must be tempted, at times, to spit on his hands, hoist the black flag, and begin slitting throats. But this business, alas, is fatal to the placid moods and fine other-worldliness of the poet. Pound gives a thrilling show, but – …. The remaining stars of the liberation need not detain us. They are the streetboys following the calliope. They have labored with diligence, but they have produced no poetry….
Miss Monroe, if she would write a book about it, would be the most competent historian of the movement, and perhaps also its keenest critic. She has seen it from the inside. She knows precisely what it is about. She is able, finally, to detach herself from its extravagances, and to estimate its opponents without bile. Her failure to do a volume about it leaves Untermeyer’s “The New Era in American Poetry” the best in the field. Prof. Dr. Lowes’ treatise is very much more thorough, but it has the defect of stopping with the fundamentals – it has too little to say about specific poets. Untermeyer discusses all of them, and then throws in a dozen or two orthodox bards, wholly untouched by Bolshevism, for good measure. His criticism is often trenchant and always very clear. He thinks he knows what he thinks he knows, and he states it with the utmost address – sometimes, indeed, as in the case of Pound, with a good deal more address than its essential accuracy deserves. But the messianic note that gets into the bulls and ukases of Pound himself, the profound solemnity of Miss Lowell, the windy chautauqua-like nothings of Lindsay, the contradictions of the Imagists, the puerilities of Kreymborg et al – all these things are happily absent. And so it is possible to follow him amiably even when he is palpably wrong.
That is not seldom. At the very start, for example, he permits himself a lot of highly dubious rumble-bumble about the “inherent Americanism” and soaring democracy of the movement. “Once,” he says, “the most exclusive and aristocratic of the arts, appreciated and fostered only by little salons and erudite groups, poetry has suddenly swung away from its self-imposed strictures and is expressing itself once more in terms of democracy.” Pondering excessively, I can think of nothing that would be more untrue than this. The fact is that the new poetry is neither American nor democratic. Despite its remote grounding on Whitman, it started, not in the United States at all, but in France, and its exotic color is still its most salient characteristic. Practically every one of its practitioners is palpably under some strong foreign influence, and most of them are no more Anglo-Saxon than a samovar or a toccata. The deliberate strangeness of Pound, his almost fanatical anti-Americanism, is a mere accentuation of what is in every other member of the fraternity. Many of them, like Frost, Fletcher, H. D. and Pound, have exiled themselves from the republic. Others, such as Oppenheim, Sandburg, Giovannitti, Benét and Untermeyer himself, are palpably Continental Europeans, often with Levantine traces. Yet others, such as Miss Lowell and Masters, are little more, at their best, than translators and adapters – from the French, from the Japanese, from the Greek. Even Lindsay, superficially the most national of them all, has also his exotic smear, as I have shown. Let Miss Lowell herself be a witness. “We shall see them,” she says at the opening of her essay on E. A. Robinson, “ceding more and more to the influence of other, alien, peoples….” A glance is sufficient to show the correctness of this observation. There is no more “inherent Americanism” in the new poetry than there is in the new American painting and music. It lies, in fact, quite outside the main stream of American culture.
Nor is it democratic, in any intelligible sense. The poetry of Whittier and Longfellow was democratic. It voiced the elemental emotions of the masses of the people; it was full of their simple, rubber-stamp ideas; they comprehended it and cherished it. And so with the poetry of James Whitcomb Riley, and with that of Walt Mason and Ella Wheeler Wilcox. But the new poetry, grounded firmly upon novelty of form and boldness of idea, is quite beyond their understanding. It seems to them to be idiotic, just as the poetry of Whitman seemed to them to be idiotic, and if they could summon up enough interest in it to examine it at length they would undoubtedly clamor for laws making the confection of it a felony. The mistake of Untermeyer, and of others who talk to the same effect, lies in confusing the beliefs of poets and the subject matter of their verse with its position in the national consciousness. Oppenheim, Sandburg and Lindsay are democrats, just as Whitman was a democrat, but their poetry is no more a democratic phenomenon than his was, or than, to go to music, Beethoven’s Eroica Symphony was. Many of the new poets, in truth, are ardent enemies of democracy, for example, Pound. Only one of them has ever actually sought to take his strophes to the vulgar. That one is Lindsay – and there is not the slightest doubt that the yokels welcomed him, not because they were interested in his poetry, but because it struck them as an amazing, and perhaps even a fascinatingly obscene thing, for a sane man to go about the country on any such bizarre and undemocratic business.
No sound art, in fact, could possibly be democratic. Tolstoi wrote a whole book to prove the contrary, and only succeeded in making his case absurd. The only art that is capable of reaching the Homo Boobus is art that is already debased and polluted – band music, official sculpture, Pears’ Soap painting, the popular novel. What is honest and worthy of praise in the new poetry is Greek to the general. And, despite much nonsense, it seems to me that there is no little in it that is honest and worthy of praise. It has, for one thing, made an effective war upon the cliché, and so purged the verse of the nation of much of its old banality in subject and phrase. The elegant album pieces of Richard Henry Stoddard and Edmund Clarence Stedman are no longer in fashion – save, perhaps, among the democrats that Untermeyer mentions. And in the second place, it has substituted for this ancient conventionality an eager curiosity in life as men and women are actually living it – a spirit of daring experimentation that has made poetry vivid and full of human interest, as it was in the days of Elizabeth. The thing often passes into the grotesque, it is shot through and through with héliogabalisme, but at its high points it has achieved invaluable pioneering. A new poet, emerging out of the Baptist night of Peoria or Little Rock to-day, comes into an atmosphere charged with subtle electricities. There is a stimulating restlessness; ideas have a welcome, the art he aspires to is no longer a merely formal exercise, like practicing Czerny. When a Henry Van Dyke arises at some college banquet and begins to discharge an old-fashioned ode to alma mater there is a definite snicker, it is almost as if he were to appear in Congress gaiters or a beaver hat. An audience for such things, of course, still exists. It is, no doubt, an enormously large audience. But it has changed a good deal qualitatively, if not quantitatively. The relatively civilized reader has been educated to something better. He has heard a music that has spoiled his ear for the old wheezing of the melodeon. He weeps no more over what wrung him yesteryear.
Unluckily, the new movement, in America even more than in England, France and Germany, suffers from a very crippling lack, and that is the lack of a genuinely first-rate poet. It has produced many talents, but it has yet to produce any genius, or even the shadow of genius. There has been a general lifting of the plain, but no vasty and melodramatic throwing up of new peaks. Worse still, it has had to face hard competition from without – that is, from poets who, while also emerged from platitude, have yet stood outside it, and perhaps in some doubt of it. Untermeyer discusses a number of such poets in his book. There is one of them, Lizette Woodworth Reese, who has written more sound poetry, more genuinely eloquent and beautiful poetry, than all the new poets put together – more than a whole posse of Masterses and Lindsays, more than a hundred Amy Lowells. And there are others, Neihardt and John McClure among them – particularly McClure. Untermeyer, usually anything but an ass, once committed the unforgettable asininity of sneering at McClure. The blunder, I daresay, is already lamented; it is not embalmed in his book. But it will haunt him on Tyburn Hill. For this McClure, attempting the simplest thing in the simplest way, has done it almost superbly. He seems to be entirely without theories. There is no pedagogical passion in him. He is no reformer. But more than any of the reformers now or lately in the arena, he is a poet.
